Chicano theatre originated in the 16th century when Spanish conquerors introduced religion through performances. Later, when railroads spread across the southwest US, theatre companies were able to travel with their shows while still maintaining a sense of cultural identity and heritage. Modern Chicano theatre centered around the civil rights movement of the 1969s, and actors used their plays to relay social reform ideas to the public. These plays often talked about the "pain and prejudice of cross-cultural living" and included both Spanish and English words in the script.
Mexican-American theatre has very old and culturally colorful roots and was originally used as a way for communities to come closer together, celebrating their heritage. Most early productions focussed on Biblical stories and were performed by amateur actors for local gatherings. In the 1870s, Mexican performing troupes began performing for more American audiences and became so popular that they rehearsed several plays at once and performed multiple times a day. After the revolution in Mexico in 1910, when many Mexicans fled to America, most traditional theatre groups fell apart. The Villalongin troupe, however, adopted aspects of American theatre such as hiring local writers and actors and performing in one performance space. Luis Valdez is credited with starting Chicano theatre when he wrote about the farm strikes and the discrimination occurring in local schools. His plays, along with those of other Mexican-American writers highlight Mexican traditions while addressing issues Mexican-Americans face in the US.
Cuban-American theatre began in the early 19th century with "melodramas and blackface farces" put on by the immigrant communities in NYC and Florida. Both professional actors and amateurs made up these first groups, and by the early 20th century, Cuban theatre was widely popular in Hispanic communities. In the 1920s - 30s, the Hispanic Federal Theatre Project funded many shows in Tampa, FL, and after the Cuban Revolution in '59, plays began to reflect themes from that impactful event. Cuban-Americans missed their homeland and wanted to see it taken care of. Soon, new playwrights who had been born in America began to write for this theatre group, and their plays often dealt with "acculturation, bilingualism, cultural conflict, and generational gaps."
Hispanic Theatre has existed in America for decades now, receiving most of its influence from Mexican, Cuban, and Puerto Rican actors. It began with religious themes and expanded in the 1960s to discuss the civil rights movement. Scholars can separate Hispanic theatre into three main categories: Chicano theatre, Cuban-American theatre, and Nuyorican theatre (in NY). Each one is distinct in how much English the incorporate into their plays and what stories they choose to tell.
Puerto Rican theatre came about as immigrants to the US desired to maintain their cultural heritage, and it takes much of its inspiration from the "social, linguistic, and cultural values of the island." This form of theatre, instead of mixing with American styles, has remained very distinctive on purpose. It has its roots in Spanish missionary plays and touring groups that would perform for rural Puerto Rican audiences. In the 1940s, many island dwellers moved to the mainland to work in the agriculture industry. This migration, combined with the civil rights movement of the '60s propelled Puerto Rican theatre forward into its more modern form. These immigrants had a strong desire to let their voices be heard and save traditions from the island. Life for these people, however, was far from easy; the language barrier affected children in schools as well as working adults, but theatre could always be understood. Many theatre groups began to adopt the street presentational method and would involve their audiences in the plays. One of the most influential groups in the US is the Puerto Rican Traveling Theatre which aims to "reinforce the cultural traditions of Puerto Ricans living in New York." This group and others contrast life on the island to life in NY by showing Puerto Rico to be a fruitful paradise while NY is a dull, industrial town. Third generation immigrant playwrights focus on their experiences in the US and combine aspects of island life with NYC life. Puerto Rican theatre, after growing quickly in the 1960s, has continued to grow steadily over the past few decades, still mainly serving the Puerto Rican community with its plays about the island.
Mexican-American theatre has very old and culturally colorful roots and was originally used as a way for communities to come closer together, celebrating their heritage. Most early productions focussed on Biblical stories and were performed by amateur actors for local gatherings. In the 1870s, Mexican performing troupes began performing for more American audiences and became so popular that they rehearsed several plays at once and performed multiple times a day. After the revolution in Mexico in 1910, when many Mexicans fled to America, most traditional theatre groups fell apart. The Villalongin troupe, however, adopted aspects of American theatre such as hiring local writers and actors and performing in one performance space. Luis Valdez is credited with starting Chicano theatre when he wrote about the farm strikes and the discrimination occurring in local schools. His plays, along with those of other Mexican-American writers highlight Mexican traditions while addressing issues Mexican-Americans face in the US.
Cuban-American theatre began in the early 19th century with "melodramas and blackface farces" put on by the immigrant communities in NYC and Florida. Both professional actors and amateurs made up these first groups, and by the early 20th century, Cuban theatre was widely popular in Hispanic communities. In the 1920s - 30s, the Hispanic Federal Theatre Project funded many shows in Tampa, FL, and after the Cuban Revolution in '59, plays began to reflect themes from that impactful event. Cuban-Americans missed their homeland and wanted to see it taken care of. Soon, new playwrights who had been born in America began to write for this theatre group, and their plays often dealt with "acculturation, bilingualism, cultural conflict, and generational gaps."
Hispanic Theatre has existed in America for decades now, receiving most of its influence from Mexican, Cuban, and Puerto Rican actors. It began with religious themes and expanded in the 1960s to discuss the civil rights movement. Scholars can separate Hispanic theatre into three main categories: Chicano theatre, Cuban-American theatre, and Nuyorican theatre (in NY). Each one is distinct in how much English the incorporate into their plays and what stories they choose to tell.
Puerto Rican theatre came about as immigrants to the US desired to maintain their cultural heritage, and it takes much of its inspiration from the "social, linguistic, and cultural values of the island." This form of theatre, instead of mixing with American styles, has remained very distinctive on purpose. It has its roots in Spanish missionary plays and touring groups that would perform for rural Puerto Rican audiences. In the 1940s, many island dwellers moved to the mainland to work in the agriculture industry. This migration, combined with the civil rights movement of the '60s propelled Puerto Rican theatre forward into its more modern form. These immigrants had a strong desire to let their voices be heard and save traditions from the island. Life for these people, however, was far from easy; the language barrier affected children in schools as well as working adults, but theatre could always be understood. Many theatre groups began to adopt the street presentational method and would involve their audiences in the plays. One of the most influential groups in the US is the Puerto Rican Traveling Theatre which aims to "reinforce the cultural traditions of Puerto Ricans living in New York." This group and others contrast life on the island to life in NY by showing Puerto Rico to be a fruitful paradise while NY is a dull, industrial town. Third generation immigrant playwrights focus on their experiences in the US and combine aspects of island life with NYC life. Puerto Rican theatre, after growing quickly in the 1960s, has continued to grow steadily over the past few decades, still mainly serving the Puerto Rican community with its plays about the island.